It is impossible not to be drawn into the fight that perpetually unfolds on the projection wall at the centre of the darkened gallery. The grunts and smacks of two men engaging in an unrelenting, no-holds-barred fist fight resonate throughout the very room they were recorded in. Onscreen, fists and limbs puncture drywall. The holes, still visible behind the screen, swiftly cast the gallery as both a film set and an art space. Review by Reuben Merringer
A magical forest world is the last thing you expect to find as you make your way through the industrial setting that houses Galeria Plan B. Yet, nestled behind the gallery’s front door, the mystic realm that is Adrian Ganea’s ‘Ghost Trade’ becomes a reality. With an extensive background in scenography for theatre and performance, the Romanian-born artist sets the stage for an enchanting musical dialogue between a cast of uncanny tree-like creatures. Review by Nadia Egan.
“I’m always thinking…when you go from Germany…something about those trees…” The disembodied voice is likely that of the violinist Roi Shiloah talking on a train bound from Berlin to Warsaw via Poznań with viola player, Avri Levitan and artist Douglas Gordon. “I don’t have any Holocaust complex, but when I see those trees…unbelievable…when it’s cold and snowing…those are the only moments I think about it…to be outside in the freezing weather…so cold.” Shiloah and Levitan, both Israelis of Polish descent, are heading to Warsaw’s Philharmonic concert hall to perform the lead duet in Mozart’s Sinfonia Concertante in E-flat major, also known as “k.364”, after which the exhibition is named. Review by Greg Thomas.
There is something visceral about being in the room with Robert Nava’s latest paintings, currently exhibited at PACE Gallery, London. The work is immediate. You can feel the techno mixes, by the likes of Macro Plex and LL Cool J, in lieu of heartbeats, to which each of the figures—benevolent, evil and ambivalent—has been painted by the artist in his Brooklyn studio. Review by Clara Nissim
Bailey’s practice is a form of artistic whistle-blowing. Pushing the boundaries of art’s engagement with ecology, her practice is rooted in a local context but has a worldwide reach embedded in the social, political, economic and environmental spheres she seeks to address and expose. Bailey stands in opposition to contemporary greenwashing.
‘Thirst of the Tide’ brings together iconic pieces from Bailey’s ‘the black stuff’ series as well as new, site-specific works. She relishes the exploration of materiality and is bemused by our anthropocentric dislocation from our roots. The departure point for the exhibition is the concept of strata - geologically, environmentally, sociologically and psychologically. From the press release.
Addis Fine Art London presents 'Pace of Life' by Nigatu Tsehay. A new body of work that explores the interrelations between human beings and the spaces they inhabit. The exhibition is a part of the 2022 edition of London Gallery Weekend.
Born in Addis Ababa and currently working in Frankfurt, Nigatu’s works are inspired by his lived experience within different cultures and the shared humanity that he’s encountered. Rich with human forms, Nigatu likens his canvases to a suddenly paused film scene – an instant in time bearing the weight of existence. His works are replete with distorted characters who frequently gaze in disparate directions, hands and feet punctuating a forested twist of limbs. From the press release.
Bettina Korek, CEO, and Hans Ulrich Obrist, Artistic Director, Serpentine, say:
“Dominique Gonzalez-Foerster is an artist synonymous with experimentation, whose career has spanned decades of research into sensorial and existential dimensions of human life. As such, we are honoured that she has accepted our invitation to create a bold, immersive environment that we hope will change the ways that those who experience it think, see and feel. It is with great anticipation that we look forward to inviting audiences to encounter her phenomenological ‘mise-en-espace,’ to quote the artist herself.”
Seth Price has rarely shown in the UK; this exhibition marks his first solo gallery presentation in London since his film and video survey at the ICA London in 2017. Born in 1973 and based in New York, Price works in many media, experimenting with contemporary materials and themes to evoke a sense of “increasing abstraction, the alienated self, all the weird ways that material and immaterial go back and forth,” as he explained in a recent interview. From the press release.
Rachel Jones’ latest body of expansive canvases at Chisenhale Gallery, London beams with colour and complexity. A continuation of her ongoing exploration of semi-visible teeth, Jones’ newest paintings feel as much like expressionistic landscapes as they do depictions of technicolour jaws. Review by Kate Kirby
“They dream of a new life in orbit; a new life on the moon; on asteroids, and on the dead planet of Mars. They dream of leaving their mistakes behind and starting again. They dream and dream and dream but there is no escape. Back at Ground Zero, we live with their mistakes ever more divided, a little warmer every year.” - Thomson & Craighead (2022)
At the cornerstone of Plato's theory of forms - where the essence of a thing is what we know, and that essence is its form - we find the humble chair. We don't need all chairs to look the same to know they fit into the category of items we refer to as a "chair", which we understand as a stool to sit on. The essence of something is also its purpose. So when an exhibition takes up the chair and negates its chairness, is it still a chair? Review by Jillian Knipe.
There’s something especially thrilling about seeing new masterworks for the very first time. Anyone who received and read a copy of Phaidon’s classic contemporary overview, Cream, may well remember that feeling. In 1998, (then) little-known art-world luminaries such as Hans Ulrich Obrist and Okwui Enwezor selected the brightest new young talents of the day; the book showcased Olafur Eliasson, Sarah Sze, and Kara Walker, among many others. Follow-up titles in that series featured similarly prescient picks, featuring works by Elmgreen & Dragset, Kerry James Marshall, Julie Mehretu, and Yoshitomo Nara, to name just a few.
This season, Phaidon returns to this theme with Prime: Art's Next Generation. Once again, we appointed an esteemed panel of experts to select 107 of the best contemporary artists under the age of 40. The selection committee includes plenty of notable figures, such as Frieze’s editor-in-chief, Andrew Durbin; Victor Wang, artistic director and chief curator at M WOODS Museum in Beijing; Tate curator Fiontan Moran; Krist Gruijthuijsen, Director of the KW Institute for Contemporary Art in Berlin; and Bernardo Mosqueira, artistic director of Solar dos Abacaxis in Rio de Janeiro and curatorial fellow, of the New Museum in New York. From the press release
Thisistomorrow is giving you a sneak peak at some of our favorite artists included in the book! Click to find out more.
The Hague’s art space 1646 recently opened Meta Folklore, the first solo exhibition in The Netherlands by self-taught artist Janek Simon (b. 1977), showing his newest 3D printed sculptures. Growing up in Poland during the 1980’s amidst post-war dichotomies, Simon developed an anarchist political position and a resistance to reducing the world into categories. Combined with his urge to intrude on overpowering, opaque technologies, Simon sees the DIY approach as a tool to reappropriate technology and to empower people to dismantle simplistic constructs of reality, categorization and hierarchies. From the Press Release
‘Songs for living’ provides excerpts from Simone Weil’s Gravity and Grace, Édouard Glissant’s Sun of Consciousness, and On Prayer, a poem by the Polish-American poet, Czesław Miłosz. From separate times and places these writers survived under oppressive regimes with the provocation of their art. What they had in common was that they fought for a spiritual clarity amidst the forcefulness of symbolic communions. From the press release.
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